Avshalomov/Bernstein 5: Crossings

Posted on January 28, 2019

The paths of these two sons of Russian Jewish emigres born a year apart, who came to the US from opposite sides of the earth, crossed at three significant points. 

The first, of which most outside PYP are unaware: the celebrated score-copying marathon of the Jeremiah Symphony in late December 1942. No other source besides Winding Way mentions that Jacob participated in... Read More ›

Avshalomov/Bernstein 6: The Jeremiah Symphony

Posted on January 28, 2019

Since so much has been written and documented about Bernstein’s work, this blog will focus more on Avshalomov; the discussion of the piece at leonardbernstein.com is the best single source on the Jeremiah and its context.

I’ll add only that although the third movement, “Lamentation”, which was originally written as a standalone piece, receives most of the attention, the second movement “Profanation”, also stands out.... Read More ›

Avshalomov/Bernstein 7: The Taking of T’ung Kuan 1

Posted on January 28, 2019

Avshalomov wrote The Taking of T’ung Kuan as his master’s thesis at Eastman, age 24.  He described its genesis:

“Here I was then, at the famous Eastman School of Music, one of the schools which father had suggested years back.  He had so many ideas for me that I was bound to take up one or another of them sooner or later.  His... Read More ›

Avshalomov/Bernstein 8: The Taking of T’ung Kuan 2

Posted on January 28, 2019

The Taking of T’ung Kuan is rather simple in construction: A-B-A, roughly, built on a 5-note heroic-fanfare motif announced at the start. That structure, however, contains nonstop “thrilling and effective” drama, as William Bergsma characterized it.  Bergsma continued: 

The five-note theme, in various rhythmic changes, is a constant thing….This brings out Avshalomov’s dramatic side.  So constant a preoccupation with a small thematic morsel leads... Read More ›

Avshalomov/Bernstein 9: The Taking of T’ung Kuan and PYP

Posted on January 28, 2019

The Taking of T’ung Kuan has had an especially significant role in PJS/PYP’s history: it was played for the thirtieth anniversary concert in 1954, for Avshalomov’s 25th anniversary in 1979, and again in 1988 before it would be performed as a part of the regular program in the 1989 European tour.  There is no one better qualified to discuss this aspect than... Read More ›